1859.]  The  New  Tune  Book. 


Akt.  V.— THE  NEW  TUNE  BOOK. 

A  Tune  Booh,  proposed  for  the  use  of  Congregations  of  the 
Protestant  liplscpal  Church.  Compiled  by  a  Committee 
appointed  for  the  purpose  by  the  House  of  Bishops.  New 
York.     1859.     Small  4to.     pp.  37G. 

"  Of  making  many  books  there  is  no  end,"  says  The  Preach- 
er; and  surely  an  "  enraged  Musician"  may  well  covet  a 
Hogarth's  pencil,  with  which  to  comment  on  this  text,  as  he  en- 
deavors to  show  that  Boohs  of  Music  aw  especially  intended  in 
this  announcement  of  the  wise  Solomon.  And  the  cry  is,  "  still 
they  come,"— recommended  to  the  notice  of  ambitious  organists 
and  quarreling  choirs,  eager  for  something  new,  by  every  va- 
riety of  attraction,  and  every  charm  of  originality.  Old 
tunes,  like  old  bonnets,  must  be  discarded.  "  A  new  book, 
or  we  resign,"  is  the  inexorable  demand  of  the  singers  ;  and 
the  sorely  annoyed  Rector,  as  he  visits  the  city,  inserts  among 
his  memoranda,  "  Get  the  latest  Church  Music  Book."  And 
then  the  practisings  and  rehearsals  !  The  scene  on  the  suc- 
ceeding Lord's  Day,  when  the  enraptured  choir  sing  and 
shout,  in  ascending  and  descending  demisemiquavers,  and 
excruciating  trills  long  drawn  out,  reminds  us  of  the  story  of 
good  old  Bishop  Seabury  and  the  country  singing  master,  at 
Middletown,  which  we  find  told  in  Dr.  Sprague's  clever  vol- 
ume, noticed  in  the  last  Number  of  our  Review. 

Is  Sacred  Music  a  farce?  Are  the  performances  of  well- 
trained  choirs,  in  our  churches,  to  be  in  reality  nothing  more 
or  less  than  cheap  Operas,  hebdomadal  exhibitions  of  four  or 
eight  voices,  who  scream,  and  quaver,  and  trill,  while  we 
"  miserable  sinners,"  who  stand  and  listen,  fear  to  open  our 
mouths  except  in  gaping  astonishment  ?  The  performers  are 
paid  from  fifty  cents  to  twenty  dollars  per  Sunday.  The  cur- 
tain is  drawn.  The  actors  take  their  places.  The  perform- 
ances commence.  Modern  custom  sanctions  such  a  fearful 
travestry  of  true  praise.  No  one,  least  of  all  the  Hector,  dares 
t<>  demur,  and  too  often,  alas,  Satan  is  unwittingly  praised. 
This  is  no  caricature.  Is  there  then  no  relief?  Must  our 
Church  Music  remain  as  it  is,  a  mere  conventional  ornament,  or 
worse,  a  formal  mockery  ?  God  forbid.  Music  is  a  power  that 
alone  can  make  many  dry  bones  live.  The  Church  every- 
where needs  it.     It  is  an  eloquence,  which  the  young  especially 


282  The  New  Tune  Booh.  [July, 

feel  and  obey.  It  is  an  influence  that  can,  if  rightly  appreciated 
and  used,  do  much  to  awaken  our  American  Church  to  the 
vigorous  health  and  rapid  growth  of  the  early  Church.  Our 
position,  therefore,  is,  that  Congregational  Singing  is  the  only 
legitimate  mode  of  praise  for  a  Christian  people  assembled  for 
Public  Worship.  And,  by  Congregational  Singing,  we  mean 
such  as  the  whole  congregation  can  unite  in,  either  audibly 
or  with  the  silent  melody  of  the  heart.  And  because  the 
latter  of  these  two  modes  will  appear,  as  we  proceed,  to  be 
impracticable,  we  shall  adopt  and  maintain  the  former. 

The  voice  of  history,  as  well  as  the  testimony  of  common 
sense,  will  bear  witness  to  the  impregnable  nature  of  our  posi- 
tion. Old  Tunes  and  old  modes  of  singing,  which  "  let  all  the 
people  praise  God,"  will  appear  to  be  equally  pleasant  and 
edifying. 

Since  the  world  began,  wherever  the  hearts  of  men  were 
made  glad,  there  and  then  Music  has  asserted  her  right,  as 
the  handmaid  of  all  prosperity,  and  the  boon  companion  of 
true  happiness.  Even  in  Eden,  our  first  parents  must  have 
given  utterance  to  the  unalloyed  happiness  of  their  lot  in  song. 
As  Milton  hath  it, 

"  Neither  various  style 
Nor  holy  rapture  wanted  they  to  praise 
Their  Maker  in  fit  strains,  pronounced  or  sung, 
Unmeditated,  such  prompt  eloquence 
Flowed  from  their  lips  in  prose  or  numerous  verse, 
More  tunable  than  needed  lute  or  harp, 
To  add  more  sweetness." 

(Par.  Lost,  B.  iv.) 

The  brief  mention  of  Jubal  as  the  "  Father  of  all  such  as 
handle  the  harp  and  organ,"  (Gen.  iv,  21,)  contains  the  sum 
total  of  our  knowledge  of  antediluvian  Music.  But  this  pri- 
meval Harpist  and  Organist  surely  did  not  compose  a  choir 
of  one,  for  he  was  "  bfc^N  "  "  Father  of  many."  May  we 
not,  therefore,  fairly  inter'  that  in  those  days  of  wonder,  and 
of  corruption,  and  of  "  giants  in  the  land,  melodious  harps  and 
powerful  instruments  were  played  as  necessary  concomitants 
to  the  feasts  and  sacred  ceremonies,  when  men  (not  a  well 
balanced  quartette)  "  began  to  call  on  the  name  of  the  Lord  "  in 
praise  as  well  as  in  prayer.  Six  hundred  years  after  the 
Flood,  as  we  learn  from  the  reproach  of  Laban  to  Jacob,  it 
was  customary  for  whole  families  to  celebrate  any  joyful  event 
with  "  mirth  and  with  songs,  with  tabret  and  with  harp." 
(Gen.  xxxi,  27.)  Even  children  participated,  as  Job  answers  to 
Zophar,  "  They  take  the  timbrel  and  harp,  and  they  rejoice  at 
the  sound  of  the  organ."  (Job  xxi,   12.)      The   application   of 


1859.]  2  he  New  Tune  Boole.  283 

6uch  a  scriptural  as  well  as  historical  argument  to  the  matter  in 
hand  is  too  obvious  for  comment 

Many  centuries  after,  we  are  introduced  to  the  first  speci- 
men of  a  choral  hymn,  either  in  profane  or  sacred  history.  It 
wis  snng  antiphonally  by  u  Moses  and  the  children  of  Israel," 
on  the  one  hand,  and  by  "Miriam  and  all  the  women,"  on  the 
other,  accompanied  by  instruments.  The  jealous  cultivation 
of  Music  by  the  Egyptian  Priests,  and  the  nigh  veneration  of 
it  by  the  accomplished  Greek,  who,  like  the  Jew,  confined  its 
use  exclusively  to  sacred  ceremonies,  are  other  world  wide 
witnesses  to  the  majesty,  and  power,  and  venerated  grandeur 
of  this  now  comparatively  degraded  art.  We  meet  with  sig- 
nal instances  of  the  Divine  approval  of  congregational  singing, 
in  the  song  of  Jehoshaphat,  u  and  every  man  of  Judah  and 
Jerusalem,  with  psalteries,  and  harps,  and  trumpets,"  in  the 
Valley  of  Berachah,  (2  Chron.  xx,  27  and  28  ;)  and  also,  in 
the  sublime  ascriptions  of  "  all  them  of  Asaph,  of  Heman,  of 
Jeduthan,  with  their  sons  and  their  brethren,"  at  the  consecra- 
tion of  Solomon's  Temple.  "  Then,"  continues  the  sacred  his- 
torian, "  as  the  trumpeters  and  singers  were  as  one,  to  make 
one  sound,  the  cloud,"  mysterious  symbol  of  God's  glory,  "  fill- 
ed the  house,"  so  that  "  the  priests  could  not  stand." 

With  holy  joy  and  loftiest  inspiration,  does  the  sweet  singer 
of  Israel  write  songs  for  a  world.  He  appoints,  as  leaders  of 
the  congregation,  "  Jeiel,  with  instruments  of  psalteries  and 
harps  ;"  "  Asaph,  to  sound  cymbals  ;"  "  Benaiah  and  Jahaziel, 
the  Priests,  with  trumpets  continually  before  the  Ark  of  the 
Lord,"  (1  Chron.  xvi,  4.)  And  these  well-selected  bands  were 
not  only  a  large  congregation,  but  led  the  congregation.  Now 
where  are  the  successors  of  these  men  ?  Are  they  among  those 
who  retail  snatches  from  the  last  Opera,  as  fit  preface  to 
the  awe-inspiring  words,  "  The  Lord  is  in  His  Holy  Temple  ?" 
Are  they  among  those  ambitious,  we  had  almost  said  sacrile- 
gious, organists,  who  strike  up  "  Robert  le  Diable  "  as  suffi- 
ciently exulting  accompaniment  to  the  fearful  Trisagion  ?  We 
trow  not. 

With  what  a  beautiful  simplicity  does  the  inspired  evangel- 
ist write  of  that  solemn  hour  when  the  Last  Supper  was  eaten  ; 
— "  And  when  they  had  sung  an  hymn  they  went  out  into 
the  Mount  of  Olives."  St.  James  advises,  "  Is  any,  (not  the 
choir,)  but  is  any  jocund  of  heart,  let  him  sing  Psalms."  This 
Apostolic  permission  for  "  any  "  to  sing  is  utterly  vetoed  by 
the  modern,  most  unapostolic,  usages  of  the  Churches.  And 
another  Apostle  commands,  "  teach  and  admonish  one  an- 
other in  Psalms  and  Hymns  and  Spiritual  Songs."     What  con- 


284  The  New  Tune  Book.  [July, 

gregation,  we  ask,  is  not  guilty  of  a  total  neglect  of  this  plain 
command. 

Scattered  notices,  here  and  there,  in  the  writings  of  the  Fa- 
thers, show  that  this  consentaneous  teaching  of  Prophet  and 
Apostle,  to  the  mighty  influence  of  united  voices,  was  not 
forgotten.  Even  Philo,  who  wrote  at  the  commencement  of 
the  Christian  Era,  describing  the  early  Christian  assemblies, 
says,  "They  then  chanted  Hymns  in  honor  of  God,  composed 
in  different  measures  and  modulations,  now,  singing  together, 
and  now,  answering  each  other  by  turns."  St.  Augustine,  A.  D. 
395,  writes  of  the  Ambrosian  chant:  "unbelievers  were  won 
by  it,  and  the  common  people  captivated."  Socrates,  in  the 
fifth  century,  testifies  "  that  the  holy  martyr,  Ignatius,  on  his 
journey  to  Rome,  introduced  the  custom  of  Antiphonal  sing- 
ing which  prevailed  in  Antioch."  St.  Chrysostom,  A.  D.  400, 
preaches,  "  God  has  joined  music  with  worship  that  we  might, 
with  cheerfulness  and  readiness  of  mind,  express  His  praise  in 
Sacred  Hymns."  Again,  in  his  homily  on  the  First  Corin- 
thians, he  writes,  "I-^akov  *avr^  xoivr."  And  again,  preaching 
from  the  145  th  Psalm,  he  declares,  "women  and  men,  old  men 
and  children,  differ  in  sex  and  age,  but  they  differnot  in  the  har- 
mony of  singing  hymns  ;  for  the  Spirit  tempers  all  their  voices 
together,  making  one  melody  of  them  all."  Eusebius,  speaking 
of  the  consecration  of  Churches  during  the  reign  of  Constan- 
tine,  says,  that  "  there  was  one  common  consent  in  chanting 
forth  the  praises  of  God  ;  youths  and  virgins,  old  men  and 
maidens,  sung  Psalms." 

But  Sacred  Music  appears  to  have  reached  a  culmination  in 
the  days  of  Gregory  the  Great.  Hildebrand  increased  the 
Ecclesiastical  modes  from  four  to  eight.  He  adopted  and  im- 
proved the  Poman  character,  instead  of  the  Greek.  He  intro- 
duced a  new  species  of  chanting,  termed,  from  its  gravity, 
"  Canto  Fermo,"  and  thus  sacrificed  fearlessly  mere  effect  and 
pagan  parade  to  seemly  concord  and  solemnity.  His  life  and 
labors  mark  an  epoch  in  this  art ;  and  to-day  the  Gregorian 
Chants  bid  fair  to  supersede  all  others,  by  reason  of  the  simple 
grandeur  of  their  harmony  and  their  peculiar  appropriateness 
to  our  Services. 

Soon  after  Gregory's  time,  the  blighting  influence  of  Papal 
corruption  began  to  take  effect  even  upon  music.  It  was  em- 
ployed, not  to  elevate  the  heart  to  Heaven,  but  as  a 
mere  Ecclesiastical  machine,  abstruse,  inexpressive,  meaning- 
less. Every  kingdom  under  the  spiritual  dominion  of  the 
Pope  was  more  or  less  affected  by  it.  The  venerable  Bede, 
however,  says,  "  Our   British  ancestors   heard  St.  Germanus 


1859.]  The  New  Tune  Bool'.  385 

sine,  many  years  prior  to  St.  Austin,"  and  St.  Dunstan  is 
Bpoken  of  as  presenting  many  Churches  with  organs. 

But,  at  the  Reformation,  this  almost  fatal  wedlock  of  music 

with  error  was  pul  asunder.  The  invention  of  printing  most 
opportunely  d    the    emancipation    of   mind.     In     the 

reign  of  Henry  VTIT,the  Only  change  made  was  the  application 
•  it"  Music  to  English  words.     Still   the  great  intricacy  of  the 

prevailing  style  remained, so  that,  in  the  Lower  House  of  Con- 
vocation of  Canterbury,  A.  I).  1536,  a  protestation  was  ad- 
dressed to  the  king  against "  the  Fautes  and  Abuses  of  Reli- 
gion,"  in  which  they  declare  that  "synging  is  but  rorying, 
howling,  whystling,  conjuring,  jogelying,  and  a  foolish  vanite. ' 
Who  has  not  heard  a  performance  of  which  this  protest  is  no 
caricature  ? 

During  the  reign  of  Edward  VI,  metrical  Psalmody  was  in- 
troduced into  England.  The  University  of  Oxford  so  far  fa- 
vored music,  as  to  give  it  permanent  establishment,  and  con- 
ferret  1  a  degree  of  D.  M.  upon  Hamhois.  Queen  Elizabeth 
encouraged  it,  and  in  her  injunction  to  theClergy,  "she  willeth 
and  commandeth  that  there  may  be  a  modest  and  distinct  song, 
so  used  in  the  Church  service,  that  the  same  may  be  plainly 
understood."  Tallis  and  Bird,  the  Fathers  of  English  Church 
Music,  flourished  in  her  reign.  Calvin,  Beza,  Knox,  Zuingli, 
but  especially  Luther,  were  strenuous  in  advocating  congrega- 
tional singing.  The  famous  Chorales  of  Luther  are  said  to 
have  aided  the  Tteformation  more  effectively  than  all  his  ser- 
mons put  together.  And,  Luther  says  in  his  plain  strong  way, 
11 1  verily  think,  and  am  not  ashamed  to  say,  that  next  to  Di- 
vinity, no  art  is  comparable  with  Music ;"  and  again,  u  we  know 
that  music  is  intolerable  to  demons." 

In  the  year  1551,  Roger  Ascham  writes  from  Augsburg,  "  three 
or  four  thousand  singing  at  a  time  in  this  city,  is  but  a  trifle." 
Beza  writes  much  the  same  of  the  Huguenots  of  Paris.  About 
the  same  time,  Bishop  Jewell  wrote  to  Peter  Martyr,  "A  change 
now  appears  visible  among  the  people,  which  nothing  pro- 
motes more  than  the  inciting  them  to  sing  Psalms;  sometimes, 
at  St.  Paul's  cross,  there  will  be  six  thousand  singing  together." 
Surely  this  energizing  element  of  the  great  Reformation  is 
needed,  wherever  men  are  to  be  turned  from  the  error  of  their 
ways.  Thomas  Mace,  a  quaint  clerk  of  Trinity  College,  Cam- 
bridge, gives  an  account  of  "  the  excellent  singing  of  Psalms 
in  York  Cathedral,  when  cannon  balls  from  Cromwell's  army 
were  flying  around — when  the  vast  concording  unity  of  the 
whole  congregational  chorus  came,  as  I  may  say,  thundering 
in,  even  so  it  made  the  very  ground  shake  under  us.  Oh,  the 
unutterable  ravishing  souFs  delight ! " 


286  The  New  Tune  Booh.  [July, 

The  course  of  history  now  brings  us  to  the  era  of  Handel, 
and  Haydn,  and  Mozart,  and  Bach,  and  Beethoven ;  whose 
magnificent  genius  laid  the  foundation  of  all  succeeding  com- 
positions, and  elevated  their  art  to  the  highest  pitch  of  refine- 
ment. These  men  were  the  exponents,  in  a  great  degree,  of 
the  popular  taste  in  their  day.  But  their  sublime  compositions 
are  in  a  dead  language,  to  the  mass  of  men  in  our  time.  And 
these  facts  prove  the  decay  of  their  lofty  art,  and  also,  that  if 
we  would  restore  music  to  its  ancient  glory,  we  must  begin  with 
the  people.  Handel  must  have  an  appreciative  audience.  Mo- 
zart and  Beethoven  are  not  for  deaf  and  dumb  congregations. 
If  therefore  we  would  have  true  and  laudable  congregational 
singing,  we  must  in  every  way  popularize  music.  Increase 
musical  taste,  not  only  on  artistic  considerations,  but  on  the 
highest  religious,  moral,  and  social  grounds.  Let  there  be  sing- 
ing at  home,  and  singing  in  all  our  schools,  until  it  becomes  a 
habit.  In  the  reciprocation  of  musical  influences,  all  classes 
will  be  led  to  a  higher  appreciation  of  the  art ;  and  thus  only 
can  any  true  proficiency  be  attained.  How,  in  part,  this  pop- 
ularizing process  may  be  undertaken,  will  presently  appear. 

But,  to  return  from  this  digression.  From  the  days  of  Han- 
del and  Mozart,  the  superiority  of  Sacred  Music  must  date  its 
declension.  Now  and  then  the  taste  of  o»  *ravu  asks  for  an  Ora- 
torio ;  but  fashion  and  wealth  patronize  only  the  opera,  or  the 
ballad  singer.  From  the  congregation  Music  has  been  excluded, 
by  the  supposed  difficulty  of  its  acquisition.  Proud  First 
Trebles,  guttural  Bassos,  booming  organs  that  drown  all  other 
sounds — these  alone  praise  God,  in  the  degraded  and  despoiled 
beauty  of  holiness.  Machinery  has  usurped  the  place  of  genius. 
Vocabularies  are  exhausted  to  supply  even  names  for  the  new 
tunes ;  and,  alas  !  salaries,  not  grateful  hearts,  are  the  misera- 
ble inspiration. 

Where,  we  ask,  is  the  only  real  power  of  Sacred  Music  to- 
day ?  It  is  to  be  found,  chiefly,  in  the  Methodist  Prayer  Meet- 
ing, or  Revival,  of  which  it  is  the  main  principle  of  life.  The 
old  tunes  are  not  in  the  modern  music  books.  They  are  handed 
down,  like  the  most  precious  heir-looms,  in  the  sweet  lullabies 
around  our  cradles.  Occasionally  a  very  bold  choir  ventures 
to  sing  one  at  the  risk  of  its  reputation,  especially  if  some 
plagiarizing  composer  has  so  re-arranged  and  spoiled  it,  that  it 
sounds  as  much  like  Yankee  Doodle  as  Old  Hundred.  Now, 
in  the  name  of  thousands  who  feel  and  know  that  praise  is  as 
essential  an  act  of  true  worship  as  prayer,  what  is  to  be  done  ? 

We  recommend  the  full  Choral  Service,  says  one.  But  this 
is  an  absolute  impossibility  in  every  Village  Church.  For  the 
Choral  Service,  witli  its  essential  accuracy  of  intonation,  its 


1859.]  The  New  Tune  Book.  287 

distinct  yet  rolling  pronunciation,  its  true  rhythm,  and  faultless 
accent,  is  the  very  highest  ideal  of  Sacred  Musical  Art.  The 
best  trained  choirs,  and  the  most  practised  congregations  of 
our  country,  fail  to  do  more  than  experiment  upon  it.  And 
besides,  the  degraded  taste  and  the  faulty  conception  of  true 
praise  of  any  congregation,  will  not  abide  it  at  present.  To 
enter  therefore  upon  this  perfection  of  Sacred  Music,  at  once, 
and  in  the  present  state  of  the  Art,  in  our  country,  is  simply 
absurd.  It  is  beginning  with  a  chorus  of  Aeschylus  before 
one  can  spell  Greek.  We  have  heard  it  attempted  in  a  small 
country  Church.  Our  ears  tingle  to  this  day  with  the  jangle. 
It  was  bedlam  let  loose.  It  was  horrible  discord  blown  out  of 
sharp  Yankee  noses.  And  yet  we  hope  to  see  the  day  when 
those  sublime  "Amens,"  of  the  English  Cathedral  Service, 
which  so  powerfully  stir  the  depths  of  every  soul  who  hears 
them,  shall  stir  ours.  We  are  all  acquainted  with  the  candid 
confession  of  a  distinguished  dissenting  clergyman  to  their 
power.  Bishop  DeLancy  writes  of  a  Service  at  St.  Paul's  Ca- 
thedral, "The  voices  of  the  people  almost  overpowered  the  im- 
mense organ.  It  was  a  majestic  sound.  Such  an  Amen  I 
never  heard.  It  was  the  Falls  of  Niagara  reverberating  the 
praises  of  God.  It  carried  me  forward  to  what  St.  John  says, 
'  A  voice  came  out  of  the  throne  saying,  praise  God,  all  ye  His 
servants,  and  ye  that  fear  Ilim,  both  small  and  great ;  and  I  heard, 
as  it  were,  the  voice  of  a  great  multitude,  as  the  voice  of  many 
waters,  and  as  the  voice  of  mighty  thunderings,  saying,  Alle- 
lulia  !  for  the  Lord  God  Omnipotent  reigneth.'" 

Unison,  a  word  that  tells  the  secret  might  of  all  true  Con- 
gregational Singing,  is  the  predominant  feature  of  Choral 
Singing. 

"  All  warbling  of  one  song,  all  of  one  key, 
As  if  their  hands,  their  sides,  voices  and  minds, 
Had  been  incorporate." 

And  singing  in  unison  is  a  perpetual  singing-school  of  the 
highest  order.  Imitation  comes  to  the  aid  of  each  pupil. 
Evil  habits  of  pronunciation  and  accent  are  at  once  recognized 
and  checked,  and  the  cultivation  and  taste  of  the  more  studi- 
ous and  refined  powerfully  influence  the  less  favored  or  the 
careless.  Melody,  not  harmony,  prevails,  and  so  Art  at  last 
triumphs.  The  great  mistake  of  modern  attempts  to  improve 
sacred  music,  is  in  this  confusion  and  actual  preference  of 
Harmony  to  Melody,  and  consequently  we  are  further  from 
Choral-singing  now  than  ever.  And,  the  more  harmonious  we 
grow,  the  less  melodious  we  are.  It  is  putting  the  cart  before 
the  horse.  It  is  attempting  to  dance  before  creeping.  For  har- 
mony is  the  difficult  combination   of  many  melodies.     Learn 


288  The  New  Tune  Book.  [July, 

the  alphabet  then,  before  you  try  to  spell.  The  day  will  then 
speedily  come  when  we  may  occasionally  rise  above  the  solid 
monotone  and  the  ever  mighty  unison  of  a  whole  congrega- 
tion, (singing  chorally,)  to  that  variety  and  to  those  inspirations 
of  lofty  genius  which  belong  only  to  the  beauty  of  enrapt 
holiness.  The  soul  may  soar  away  from  earth  alone,  (for  com- 
panions must  of  necessity  be  few  in  this  work-day  generation,) 
on  the  "  gigantic  masses  of  sound  "  of  Handel,  or  the  descrip- 
tive strains  of  Haydn.  It  may  revel  in  the  "melting  pathos" 
of  Young  Bellini,  and  find  its  full  expression,  as  the  "  melan- 
choly grandeur "  of  Beethoven  swells  through  dim  Gothic 
vaults,  and  stirs  up  the  deepest  waters  of  its  innermost  being. 
But  all  this  only  proves  the  power  of  music.  It  is  the  privi- 
lege of  the  few ;  and  therefore  not  to  be  sought  after  at  first 
for  congregational  use.  It  is  the  Jacob's  Ladder  on  which  no 
unhallowed  foot  may  step.  Snatcham  choirs — ambitious  Prima 
Donnas,  "  procul !  O,  procul !  este  profani," — for  these  wonders 
of  genius  echo  only  through  the  dim  Cathedral  vaults.  That  is 
the  only  earthly  home  of  these  great  master-pieces.  And 
music  is  one  of  the  things  that 

-"by  season  seasoned  are, 


To  their  right  use  and  true  perfection." 

Adaptation,  correspondence,  suitableness ;  these  are  charac- 
teristics of  all  good  music.  It  owes  its  power  as  much  to 
moral  as  to  harmonious  qualities,  and  when,  therefore,  melody 
and  harmony  are  in  a  jumble,  and  when  what  is  adventitious 
is  entirely  merged  in  what  is  intrinsic,  the  essential  properties 
of  all  Music  are  negatived.  It  is  a  miserable  failure.  Ne 
sutor  ultra  crepidam  :  i.  e.,  don't  allow  the  penny  whistler  to 
blow  a  Double  Bass  Trombone. 

But  harmony  pays.  The  endless  supply  of  "  New  Time 
Books"  proves  this.  So  do  quack  medicines  pay.  But  if 
we  are  ever  to  have  a  restoration  of  the  Art  of  Music  ;  books 
of  new  harmonies  must  be  placed  on  the  Index  Expurgato- 
rius,  unless  there  be  some  royal  road  to  learning.  Such  is  the 
sine  qua  non  of  all  true  progress,  according  to  the  thorough 
Church  musicians  of  later  time,  such  as  Dr.  Crotch,  McFarren  of 
London,  Albrechtsberger,  Marx,  Fetis,  Catel.  "Must  we  have 
then  no  new  Church  Music?"  asks  Dr.  Crotch.  Yes,  he  replies, 
but  no  new  style ;  nothing  which  recommends  itself  by 
novelty.  Another  careful  writer  on  Music,  doubts  whether 
any  new  tunes  of  value  can  be  written  in  these  modern  times  ; 
such  is  the  limited  compass  and  quality  of  the  human  voice 
and  so  few  are  the  combinations  that  can  possibly  be  made  in 
four  lines,  which  is  but  half  a  legitimate  melody.     The  success 


1859.]  The  New  Tune  Book.  289 

of  Dr.  Hodges  is  only  an  exception  which  proves  the  rule. 
The  Stabai  Mat*  r,  the  Mis*  r<  n  ,  the  Agnus  I><  <\  are  the  simple 
and  endless  themes  of  the  old  masters.  They  Bought  nothing 
new.  Ami  the  popular  ballad  singers  of  the  day  soon  exhaust 
themselves.  1  Jut  they  require  wonderful  precision  in  their 
movement,  and  that  rare  perfection  in  harmony,  on  which 
their  nnabating  success  depends.  Such  familiarity  and  reit- 
eration can  alone  give  confidence  in,  and  prevalence  to,  the 
strains  of  Luther,  or  Handel,  or  Pleyel. 

But,  it  may  be  said,  melodious  rather  than  harmonious 
singing  will  starve  hundreds  who  live  by  ever  manufacturing 
cacophonous  discord  of  new  noises.  And,  besides,  the  Har- 
monists have  so  exterminated  the  Melodists,  that  to  create  a 
reversion  in  favor  of  melody  would  be  a  very  rash  undertak- 
ing. We  know  it.  And  those,  who  join  the  forlorn  hope,  and 
it  may  well  be  called  so,  must,  like  impetuous  Hotspur,  dare 

"To  dive  into  the  bottom  of  a  MA, 
Where  fathom  line  did  never  toneh  the  ground, 
And  pluck  up  drowned  '  melody'  by  the  locks. M 

In  the  name  of  Handel,  Haydn,  and  Mozart,  wo  cry,  therefore, 
to  the  rescue.  For  the  sake  of  one  of  the  mightiest  Arts 
which  alone  can  give  life  to  some  of  the  driest  bones,  let  us 
make  an  attempt  to  simplify,  to  expurgate,  and,  in  short,  to 
sing  all  together. 

We  come  now  to  the  "  New  Tune  Book."  It  is  recommend- 
ed as  a  powerful  auxiliary  in  the  contest.  Shall  we  treat 
it  as  David  did  Saul's  armor?  for  we  very  much  suspect  and 
dislike  its  title,  and  the  Church  has  not  proved  it.  If  expe- 
rience be  the  lamp  that  guides  her  feet  at  all,  then  the  Church 
never  will  approve  of  a  book  of  "new  tunes."  But  the  name 
of  the  "  New  Tune  Book  "  is,  we  are  happy  to  say,  a  misno- 
mer. It  is  not  a  new  Tune  Book,  as  careful  examination 
proves,  although  it  is  a  new  book.  Old  Hundred,  St.  Ann's. 
Christmas,  are  there,  and  many  a  dearly  loved  melody  besides. 
In  fact,  the  only  new  composer  of  prominence  has  not  injured, 
if  he  has  not  added  to,  the  value  of  the  work.  St.  Barnabas, 
one  of  his  tunes,  has  the  true  ring  of  that  marvelous  style 
which  prevailed  just  before  counterpoint  was  introduced. 
"  Majesty  "  is,  to  our  taste,  not  very  majestic.  As  for  "  Pil- 
grim," although  far  before  other  new  aspirants  for  popular 
favor,  still,  we  think,  he  had  better  "make  tracks"  and  hide 
behind  the  "mountain"  which  is  sufficiently  rolling,  and  at 
the  same  time  precipitous,  for  a  safe  retreat.  We  are  surfeited 
with  original  tunes.     uNon  omnia  possumus  omnes." 

VOL.    XII. — NO.    II.  19 


290  The  New  Tune  Book.  [July, 

But  the  book  is  not  to  be  treated  as  one  of  the  weekly,  or  at 
least  monthly,  issues  of  the  musical  press.  It  does  not  profess 
to  be,  and  it  is  not,  an  original  production.  It  is  a  compila- 
tion, as  the  preface  declares,  from  such  tunes  as  have  been 
"  long  and  deservedly  loved  in  the  assemblies  of  the  Saints." 
It  is  true,  and  we  are  sorry  for  it,  that  many  of  our  old  favor- 
ites are  not  there;  but  many  are;  and  certainly,  amid  the 
Babel  of  tunes,  which  throughout  the  country  are  appropriated 
to  certain  Hymns,  it  must  be  an  impossibility  to  suit  all.  Uni- 
formity in  the  use  of  a  certain  tune  to  a  certain  Hymn  will  be 
greatly  aided  by  such  an  attempt  as  unquestionably  this  book 
is,  and  in  no  other  way.  The  Church  that  we  love,  already 
sings  "half  in  the  speech  of  Ashdod."  This  book  will  help 
prevent  any  further  encroachment.  It  is  certainly  a  step,  and 
a  long  one,  in  the  right  direction. 

As  for  the  selections  of  Chants,  they  are  certainly  very  good. 
Sixteen  of  them  are  solid  Gregorian  ;  full  of  rich  melody,  and 
such  as  only  improve  upon  using.  Indeed,  we  consider  the 
price  of  the  book  as  very  small,  when  lingering  over  the  rolling 
harmonies  of  these  eighty-eight  Chants.  But  one  of  the  re- 
commendations of  this  work  to  universal  notice,  and  cheap  at 
three  times  the  price  of  the  book,  is  the  list  of  suggestions  pre- 
fixed to  its  tunes.  It  is  admirable,  and  we  trust  will  meet 
with  the  attention  it  deserves. 

But  yet  all  the  Tune  Books  ever  published  will  not  make 
singers.  By  pampering  an  already  bad  taste,  which,  with  an 
importunity,  comparable  only  to  the  begging  daughters  of  the 
Horseleech,  cries  ever  "give,  give,"  these  new  books  spoil  more 
singers  than  they  make.  The  question  is  therefore  still  open, 
What  is  to  be  done  to  restore  Sacred  Music  to  its  place  of  in- 
fluence and  power  in  our  Services? 

Let  common  sense  attempt  an  answer.  Public  Worship  is 
not  worship  in  and  for  the  public,  from  which  even  the  most 
untutored  soul  is  excluded.  So  says  common  sense.  It 
may  be  worship  for  a  cultivated  dozen.  Somebody  may  ap- 
preciate it.  But  it  is  in  no  sense  public.  And  here  we  may 
as  well  toss  a  sop  to  all  honest  Cerberi,  for  they  may  growl ; 
and  we  therefore  allow  that  it  is  common  sense,  that  if  a 
musical  taste  were  general,  then,  doubtless,  all  congregations 
would  prefer  to  listen  to  a  well  trained  choir.  All  could  then 
praise  God,  u  making  melody  in  their  hearts."  And  it  would 
be  Public  Worship — the  worship  of  the  people.  And  there  is 
still  another  reason  why  a  well  balanced  Quartette  would  be 
superior  to  all  others  for  an  appreciative  audience.  Its  per- 
formances would  be  the  perfection  of  good  taste,  in  its  religious 
sense,  we   mean.     The  intellectual   and  the   moral    faculties 


1859.]  Th    N<  »  Tun,  Book.  291 

would  harmoniously  combine  and  strengthen  each  other. 
Sine  in  g  would  be  more  than  singing.  It  would  be  adoration. 
But  where  is  the  congregation  in  our  land,  with  one  or  two 
exceptions,  that  can  be  brought  to  feel  and  profit  bj  the  best 
efforts  of  a  perfect  choir  1  and  especially  we  would  inquire,  if  a 
Quartette,  or  a  gallery  full  of  singers,  can  be  found,  who  always 
or  ever  fuliill  all  the  absolute  requisitions  of  such  as  should 
worthily  praise  the  King  of  kings  for  their  fellow  creatures? 
And  besides,  the  very  essence  of  Public  Worship  is  the  expres- 
sion of  a  common  nature,  and  of  common  relations,  and  of  com- 
mon wants  and  destiny  ;  and  because,  therefore,  music  forms  BO 
large  a  part  of  our  public  Services,  and  because  the  most 
artistic  songs  of  a  group  in  the  organ-loft  or  of  one  or  two 
here  and  there  in  the  audience4,  cannot  be  called  public,  we 
conclude,  that  our  so  called  Public  Worship  is  very  private. 
"Let  all  the  people,  then,  praise  God."  They  cannot  do  it  by 
proxy.  They  cannot  do  it,  if  they  do  not  understand  the  tune 
or  the  style,  any  better  than  a  docile  papist  can  pray  after  the 
chanted  Latin. 

But  it  will  be  objected,  that  all  the  people  cannot  sing.  This 
is  but  a  half  truth.  For,  that  the  mass  of  every  congregation 
can  sing,  is  proven  in  a  variety  of  ways.  The  songs  of  our 
home  demonstrate  the  contrary.  We  even  laugh,  cry  and 
speak  in  music.  A  yawn,  even,  runs  clown  a  whole  octave  be- 
fore it  ceases.  A  question  cannot  be  asked,  without  that  change 
which  musicians  term  a  5th,  6th  and  Sth.  And  visit  any  gath- 
ering of  Christian  people,  and  if  perchance, 

44  Old  Dundee's  wild  irarbling  measures  rise, 
Or  flowing  Hear  wakes  up  the  soul," 

or  the  venerable  "  Old  Hundredth  "  calls  on  all  the  earth  to 
raise  cheerful  notes  to  God  alone;  and  at  once  the  fact  that 
everybody  can  sing,  will  be  forever  established.  All  are  seen  to 
have  a  free,  hearty  interest  in  it,  and,  such  is  the  power  of  all 
voices  combined,  that  each  single  voice  is  not  heard  even  by 
itself.  Thus  all  timidity  or  reluctance  is  nnfelt ;  and  beside, 
there  is  no  temptation  to  either  vanity,  or  display,  or  criticism. 

Bat  it  is  again  objected,  that  the  clergyman  cannot  pitch  a 
tune  or  sing  a  note  to  save  his  life.  This  is  a  whole  truth.  And 
unquestionably  the  cause  of  our  present  style  of  music  is  attri- 
butable, in  no  small  degree,  to  the  indifference, or  the  absolute 
ignorance  of  this  mighty  Art,  on  the  part  of  those  to  whom 
alone  its  management  is  entrusted  by  the  Church.  u  As  with 
the  priest,  so  with  the  people." 

We  presume  not  to  dictate  to  our  Ecclesiastical  Superiors, 
and  to  the  learned  Trustees   of  our  Theological   Seminaries. 


292  The  New  Tune  Book.  [July, 

We  would  merely  suggest,  with  the  highest  respect  and  with  all 
due  deference,  that  a  Professor  of  this  lofty  Science  be  added  to 
the  present  chairs ;  and  that,  in  the  devotions,  as  well  as  the 
instructions,  of  our  seminaries,  music  have  its  proper  place. 
Can  we  succeed  with  the  people  as  we  all  desire,  without  this 
irresistible  eloquence  of  Sacred  Music  ?  It  powerfully  ideal- 
izes all  objects,  and  thus  awakens  an  intenser  consciousness 
of  the  might  of  those  infinite  truths  which  we  would  impress. 
It  lifts  the  soul  nearer  Heaven.  It  rules  its  empire,  the  heart, 
as  nothing  else  can.     As  earnest  George  Herbert  sang  : 

"  Averse  may  find  him  whom  a  sermon  flies, 
And  turn  delight  into  a  sacrifice." 

But  the  fact  is,  we  have  all  long  felt  as  Gregory  the  Great  is 
said  to  have  done,  u  that  there  can  be  small  increase  among  the 
lambs,  and  little  praise  among  the  sheep,  till  each  priest  can 
teach  his  own  choir."  John,  the  Deacon,  assures  us  that  in  his 
times, — he  lived  in  the  ninth  century, — the  whip,  "flagelli- 
um  ejus,"  was  preserved  as  a  relic,  with  which  Gregory  was 
accustomed  to  correct  his  choir,  u  when  they  were  out  withal, 
and  failed  in  the  notes."  O !  who  has  not  longed  for  that 
whip, — to  crack,  at  least?  Burney,  in  his  "  Continental  Tour," 
says,  "  each  Parish  has  a  Cantor  to  teach  singing  and  to  direct 
the  chorus,  and  every  one  can  sing."  Why  cannot  we  have 
our  Cantores  ?  Is  it  because  we  care  nothing  about  sacred 
music  among  our  people?  "  The  true  nature  of  Worship,  the 
general  principles  which  underlie  it,  and  the  best  method  of 
successfully  accomplishing  it,  ought  to  be,  and  doubtless  are, 
better  understood  by  the  clergyman  than  the  musician,  (says 
Richard  S.  Willis,)  for  the  clergyman  makes  Worship  his  spe- 
cial study,  while  the  musician  makes  music  his  chief  care."  In 
short,  the  conception  of  Worship  in  many  a  conceited  organist, 
is  as  true  as  was  that  of  the  painter,  who,  in  giving  the  idea  of 
that  verse  in  the  Te  Deum,  "To  Thee  all  Angels  cry  aloud," 
represented  the  angelic  choir  in  tears.  Sebastopol  will  not 
yield  without  "  God  save  the  Queen."  The  French  "  march  to 
glory  or  the  grave  "  at  the  inspiring  measures  of  the  Marsel- 
laise.  The  Swiss  soldier  surrenders  to  the  memorial  song  of 
his  cottage  home.  Why,  then,  have  we,  soldiers  of  Christ,  so 
few  battle  hymns  with  which  to  conquer?  Is  it  not  because 
Satan,  clothed  as  an  angel  of  light,  has  caused  to  be  erected,  at 
opposite  ends  of  our  Churches,  a  highly  ornamented  pulpit, 
and  a  very  elevated  organ-loft,  in  which  alone  the  Supreme  is 
very  formally  and  most  unworthily  praised, — and  where  the 
people  go  to  be  entertained  ;  that  is,  those  who  can  afford  to 
pay  for  it  ? 


1859.]  The  New  Tune  Boole. 

But  we  must  for  the  present  conclude.    If  wo  have  derived 
any  light  from  the   pages  of  history,  or  if  we  have  spoken 

according  to  the  dictates  of  common  sense  and  sound  reason  as 
to  the  power,  and  the  eloquence,  and  the  need  of  Sacred 
Music  in  Public  Worship,  we  are  content.     AVe  presume  not 

to  show,  in  a  short  Article  like  the  present,  how  all  these  mani- 
fold evils,  which  we  have  considered,  may  be  remedied.  The 
B abject  is  open  for  discussion.  But  perhaps  the  results  of  three 
years'  experience  in  a  Missionary  Parish  may  not  prove  an 
unfitting  conclusion  t<»  what  we  have  said.  The  Sunday 
School  children  were  gathered  by  the  Rector,  whose  zeal, 
doubtless,  far  exceeded  his  science.  He  asked  the  scholars  to 
open  their  Prayer-Books  at  the  Venite.  The  Rector  then  sang, 
alone,  to  a  very  simple  Gregorian  tone,  the  first  verse.  The 
children  caught  the  melody  after  a  few  repetitions,  and  with- 
out knowing  one  note  from  another,  and  in  less  than  two 
months,  the  congregation  would  not  have  exchanged  their 
music  for  the  best  salaried  Quartette  in  the  city.  Many  a  rare 
old  tune  the  children  knew  by  ear,  already,  and  they  at  once 
learned  several  others  in  the  same  way.  Of  course  the  choir 
Mere  a  little  uneasy  at  first.  But  their  thunder  was  already 
quietly  stolen.  They  were  invited  to  lead  in  antiphonal 
response  to  the  children,  and  lo  !  the  bugbear  of  prejudice 
and  of  apprehension  was  already  vanquished.  Now  any  choir 
of  Christians  will  consent  to  this  experiment  to  be  made 
either  by  the  Rector,  or  by  some  conciliatory  assistant.  And, 
if  the  choir  be  composed  of  any  except  Christians,  especially 
if  they  are  professional  hirelings,  taken  from  the  halls  of  fasb- 
ionable  amusement  and  worldly  pleasure,  then  how,  in  the 
name  of  our  holy  religion,  can  they  praise,  for  us,  Him  whom 
spotless  angels  ever  call  Holy,  Holy,  Holy ! 

And  shall  not  that  day  be  glorious,  second  only  to  that 
when  the  Holy  Scriptures  were  made  free  to  all,  when  all 
may  go  to  God's  House,  not  only  to  pray  to  Him,  but  to 
praise  Ilim  ;  when  "  young  men  and  maidens,  old  men  and 
children,  praise  the  name  of  the  Lord,  for  His  name  only  is 
excellent  and  His  praise  above  heaven  and  earth?"  The  tak- 
ing preacher  and  the  Prima  Donna  of  tbe  Opera  will  not 
then  be  the  chief  attractions  of  a  merely  aesthetic  religion,  as 
that  of  our  day  is  becoming  with  an  alarming  rapidity.  But 
Sacred  Music  will  be  restored  to  the  people,  from  whom  it  has 
long  been  alienated.  And  when  a  all  the  people"  are  thus 
taught  to  praise  God,  then  multitudes,  whom  no  man  can 
number,  shall  grow  better  prepared  to  sing  at  last  the  Song  of 
the  Lamb. 


294  The  Rev.  Bird  Wilson,  D.  D.  [July, 


Art.  A^I.— THE  REV.  BIRD  WILSON,  D.  D.* 


To  the  departed,  whatever  may  be  his  condition,  it  is  of  no 
consequence  whether  he  is  here  remembered  or  forgotten.  All 
such  minor  interests  are  lost  in  those  which  are  infinitely 
greater.  Multitudes  of  the  most  excellent  ones  of  the  earth 
have  indeed  left  behind  them  no  commemorative  name.  No 
marble  monument,  raising  its  lofty  and  magnificent  front,  pro- 
claims to  posterity  their  merited  praise.  But,  which  is  vastly 
better,  the  influence  of  their  practical  virtues  has  left  its  endur- 
ing image  and  superscription  on  the  improved  state  of  society ; 
and,  which  is  most  desirable  of  all,  their  names  are  written  and 
stand  out  in  bold  relief  in  that  Book  of  Life,  which,  in  the  great 
future  day,  shall  be  opened  wide  to  the  universe.  Yet,  even  in 
this  imperfect  state,  it  is  the  order  of  Providence,  that  the  mem- 
ory of  many  a  good  man  shall  be  preserved  for  the  benefit  of 
posterity,  for  the  satisfaction  of  those  who,  in  life,  were  his 
most  intimate  companions,  and  for  a  suitable  reward  of  virtue ; 
a  reward  the  more  agreeable,  as  dispensed  not  to  the  individ- 
ual himself,  but  to  his  best  and  most  worthy  associates.  The 
due  commemoration  of  departed  excellence  is  in  itself  proper, 
and  has  been  practised  in  all  ages  and  countries.  In  support  of 
this  action,  which  harmonizes  with  the  laudable  feelings  of  nat- 
ural friendship,  we  have  the  weight  of  Scriptural  example  and 
positive  authority.  "  Whatsoever  things  were  written  afore- 
time were  written  for  our  learning,"  (Rom.  xv,  4,)  and  there- 
fore the  character  of  Abraham,  "  the  friend  of  God,"  (2  Chron. 
xx,  7,  Isa.  xli,  8,)  and  of  other  ancient  worthies,  is  held  out 
by  St.  Paul,  in  the  eleventh  chapter  of  the  Hebrews,  as  an 
honorable  attestation  of  excellence,  and  a  perpetual  example  of 
religion  and  faith.  True  is  the  wise  man's  saying,  "  The  mem- 
ory of  the  just  is  blessed  ;  but  the  name  of  the  wicked  shall 
rot,"  (Prov.  x,  7; )  and  true  also  is  the  Psalmist's  declaration, 
"The  righteous  shall  be  held  in  everlasting  remembrance." 
(Ps.  cxii,  6.) 

*  We  depart  from  our  standing  ride,  in  saying  that  the  following  tribute  to  the 
memory  of  one  who  fills  a  large  place  in  the  hearts  of  many  of  the  Clergy  and  the 
Laity,  is  from  the  pen  of  his  intimate  friend  and  colleague,  the  venerable  Fro- 
fessor  of  Biblical  Learning,  &c,  in  the  General  Theological  Seminary,  the  Rev. 
Samuel  H.  Turner,  D.  D. 


